Sternenrest fits perfectly into the theme of this year's festival: awe-inspiring! ›How is it that, through the workings of our brain, we can form a picture of our actions and our place in the immeasurable cosmos? The fact that we are increasingly better equipped to chart that cosmos, macro and micro, does little to diminish our realisation that we are only a tiny part of an overwhelmingly large universe.‹

I wrote incidental music for Karst Woudstra's play Anterotikon.The music, commissioned by theater company WARNS, consists of an Introduction and seven Entr'actes.

The scoring is for clarinet, violin, violoncello and piano. I made the score and the sound files in Sibelius.

The performances: May 23, 24 and 25 (20:15 p.m.)The production will be repeated in october 2014.The location: Amstelveens Poppentheater in Amstelveen

This is the third production of WARNS for which I wrote music. Previous productions were The Lady from the Sea [Ibsen] and The Lady from Dubuque [Albee].Listen to the music for these plays on the website or at Soundcloud

The new composition for Ensemble Klang, ›wonen is het Westen‹ (home is the West), is the transitional music for the evening from the cycle ›Day Daily‹.It will be premiered on March 11, 2014 in Tilburg by this ensemble of excellent musicians, which celebrates its 10th anniversary this year.My congratulations to Ensemble Klang: Am Abendhimmel blühet ein Frühling auf (Hölderlin, Abendphantasie)

›wonen is het Westen‹ will be performed again on October 25, 2014 in the Orgelpark in Amsterdam, where it will combined with an other piece from the cycle: ›De dag daagt‹ for organ.

The Netherlands Radio Philharmonisch Orchestra conducted by Reinbert de Leeuw premiered Raving for orchestra and Electronic Dance Pulse, on 01/02/2014 during the ZaterdagMatinee in the Concertgebouw, Amsterdam. The performance was broadcast by the Dutch Radio.

Here are some reviews!

Merlijn Kerkhof | NRC, 03/02/2014:›Intense and exciting new works by De Leeuw and Boogman‹›particularly rewarding was the world première of Raving by Willem Boogman (1955), which was heard before the interval. While De Leeuw employs standard techniques, Boogman introduces a house beat with an ‘80s slap bass. The dull thuds worked wonderfully in the Concertgebouw’s Large Hall.‹

Frits van der Waa | De Volkskrant, 03/02/2014:›The mechanical electronic pulse which forms a central element of Willem Boogman’s Raving reveals that the 58-year-old composer has not remained deaf to relatively recent dance music. Equally that does come as a surprise, since he’s always excelled at producing chiselled, refined and relatively esoteric music. But this twenty minute long orchestral work – his first – is also anything but coarse. The material is (-) limited: a four-note signal motif and a step by step ascending and descending theme, but Boogman moulds out of this an adventurous and compelling, at times even witty, argument. (-) in the particularly skilful orchestration is a hint of Mahler and John Adams.‹